Don and Phil Everly scored a No. 2 hit in 1957 with their second release, "Bye Bye Love." With a strum and a warm coo, the pair began a winning streak of early rock-era country crossover breakthroughs that emphasized their near-telepathic vocal harmonies and sparsely textured guitar interplay. The influence of songs like "All I Have to Do is Dream" and "Cathy's Clown" appear in the vocal work of the Beatles, Simon and Garfunkel, R.E.M., and of course, Animal Collective. Avey Tare: Songs like "It Only Costs a Dime." I always like the way their voices blend and mash together so well. It's always been something we're shooting for during the recording process, just trying to get the voices to blend that way. It's just the way that their voices match. It's that one unified sound, to me, and you don't think of it so much. Same thing with the Louvin Brothers, you know?


    Formed in 1986, Osaka's Boredoms have created eardrum-searing bursts of swirling, screamy, rhythmic avant-noise on seven records and about a billion EPs so far. Equally parts punk rock slapstick and religious ritual, their music ran enough of a gamut in the '90s that they toured with both Nirvana and Brutal Truth. Frontman Yamantaka Eye's vocal nodule abuse thrilled musical deconstructionist John Zorn enough to include him in his Naked City jazz-grind project. When not battling pink robots, drummer Yoshimi P-We has led Boredoms' thunderous tribal drum jams that sound like roid-raging cousins to AnCo's "My Girls." Back to the Centipedia glossary NEXT: James Brown


    As the rhythm-keeper for jazz luminaries like Miles Davis, Coleman Hawkins, Dizzy Gillespie, Charlie Parker, and more, drummer Max Roach became a luminary along with them, as he helped pioneer the bebop techniques (like emphasizing the ride cymbal) that most people associate with jazz. Never one to shy away from new things, this member of the "A-Team of Bebop" (Quincy Jones' words) and civil rights activist also played concerts with hip-hop artists and wrote for theater. Geologist: A couple years ago, Noah was like, "I'm really getting into putting jazz on while I clean the kitchen." We were aware of a lot of free jazz in the early days and if you listen to a lot of the earlier Animal Collective records there was a lot of jazz drumming influences. Back to the Centipedia glossary NEXT: Arthur Russell


    The five movements that make up this plinky, undulating work for two amplified pianos and percussion, composed by George Crumb (b. 1929), made its debut at Swarthmore College, which commissioned it, in 1974. The percussion required for the piece is extensive, demanding tubular bells, crotales, claves, and much more, as well as slide whistle, a metal thunder sheet, the "jawbone of an ass" and a guiro for the pianists to play. Together, these ingredients comprise an atonal, unpredictable exploration of rhythm. Avey Tare: I always liked the way that that music occupied a space. And I especially liked it when it became emotional. Makrokosmos III is all this kind of alt-piano kind of percussive stuff but then it gets really, really melodic. That got me into the idea of music that did that kind of thing [like the untitled track on Spirit They're Gone].


    Four decades before The Walking Dead revolutionized flesh eaters for the small screen, "undead" auteur George A. Romero's 1968 post-life romp redefined the voodoo folklore concept of zombies with far scarier, sci-fi-derived origins. Centered around a group of small town folk hiding from hissing hungry corpses who have risen from their graves in search of fresh meat, the film boasts a brassy, percussive soundtrack and a Twilight Zone-like twist that still pack a punch in an era where zombies provide fodder for TV commercials. Back to the Centipedia glossary NEXT: Nirvana


    No subject was off-limits for costume-wearing brothers Jimmy and Dennis Flemion who formed the quirky lo-fi outsider rock group the Frogs in 1980. Originally depicted as "radical gay rockers," these "supremacists" released It's Only Right and Natural in 1989, which became a favorite disc of Nirvana and Pearl Jam who both played it before concerts. The pair performed It's Only Right at the Animal Collective-curated All Tomorrow's Parties festival — AnCo would never adopt the Frogs' giddy X-rated antics, but they've certainly gleamed their Froggy penchant for freewheeling playground melodies. Dennis, who once was a touring member of Smashing Pumpkins, drowned in July. Back to the Centipedia glossary NEXT: Gang Gang Dance


    Classical music in Iran became formalized during the Abbasid dynasty (750 – 1258 A.D.), but due to Islamic suppression, it didn't reach too many beyond royals and the wealthy until the 1900s. The music itself revolves around memorizing and mastering a series of melodic passages, and is played on lutes, flutes and the dulcimer-like santur, often accompanied by improvised free singing. Avey Tare: I've been getting into a lot of Persian classical music lately. Like santur music or some more Sufi singing stuff. I think a lot of that's got me a little bit more interested in more of the documented side of music, or notated — certain notes are used for a specific reason. I guess for that type of music it seems very religious or spiritual.


    After a stint with British psychotropic alt-rockers Spacemen 3, vocalist-guitarist Peter Kember (who also goes by the fitting nickname of Sonic Boom) recorded music as Spectrum beginning in 1991. Full of wooshing, synth-heavy sounds, echoey reverb, and shimmering sweet nothings, the music itself sometimes resembles like a perpetual dream sequence, something that attracted collaborators like Ohio post-rockers Jessamine, '60s-era electronic firebrands Silver Apples, and My Bloody Valentine's Kevin Shields. Kember's influence on contemporary bands couldn't be more obvious, since he was tapped to produce and mix albums by MGMT and Panda Bear. Back to the Centipedia glossary NEXT: Alexander "Skip" Spence - Oar


    Found sounds and lo-fi hiss are the benchmarks of this Seattle-based group, which started off in 1993 as a duo (who are neither golden nor twins; we did not fact-check their climaxing ability). Rock was such a foreign language to these musique concrète miscreants they put out a tongue-in-cheek Rock Album, containing 20 short bursts of proggy distortion 'n' backbeat fury. Over the years, they added new members and associates, and one of those, Scott Colburn, went on to record sounds for a little LP called Feels. Geologist: [On "Fireworks"] there's a field recordings that Dave made of kids playing in a busted fire hydrant in the street. The idea of field recordings, for us, came a lot from someone like Luc Ferrari or even a band like Climax Golden Twins.


    Ground zero for garage rock, metal, and punk, Brit Invaders the Kinks scored their first UK No. 1 in 1964 with "You Really Got Me" and went on to land 14 more beyond-catchy Top 10 singles over the next decade in spite of the volatile relationship between the group's songwriting nucleus, brothers Ray and Dave Davies. When they were on, though, they were really on, releasing feel-good hits that alternated between tongue-in-cheek humor ("Dedicated Follower of Fashion," "Lola") and heart-on-sleeve earnestness ("Waterloo Sunset," "Days"), inspiring future hit-makers like Van Halen, the Jam, Oasis, and AnCo, who have been known credit Kinks-ian harmonies as an influence before the more commonly cited Beach Boys. Avey Tare: It's weird, we don't tend to bring Ray Davies' songwriting up very much in interviews, but yeah, there was a time where we got super into it. I still go back to them.

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